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Judaic Traditions in Literature, Music, and Art Ser.: After Weegee : Essays on Contemporary Jewish American Photographers by Daniel Morris (2011, Hardcover)

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He shows it is equally difficult to assign a characteristic style to such a varied group whose backgrounds range from self-taught photographers to those trained in art school. After Weegee by Daniel Morris.

About this product

Product Identifiers

PublisherSyracuse University Press

ISBN-100815609876

ISBN-139780815609872

eBay Product ID (ePID)99401527

Product Key Features

Number of Pages340 Pages

Publication NameAfter Weegee : Essays on Contemporary Jewish American Photographers

LanguageEnglish

SubjectIndividual Photographers / General, Criticism, Artists, Architects, Photographers, History, Individual Photographers / Essays

Publication Year2011

TypeTextbook

Subject AreaPhotography, Biography & Autobiography

AuthorDaniel Morris

SeriesJudaic Traditions in Literature, Music, and Art Ser.

FormatHardcover

Dimensions

Item Height1.1 in

Item Weight21 Oz

Item Length9.2 in

Item Width6.4 in

Additional Product Features

Intended AudienceScholarly & Professional

LCCN2011-016670

ReviewsTaking up the provocative issue of the relationship between Jews and photographic practice in the US, After Weegee ranges across an impressively varied group of photographers and contexts, exploring the ongoing effects of a foundational tradition of documentary engagement in the work of postwar Jewish-American photographers., In his latest book, Morris explores the works of 10 Jewish photographers and how their work relates to their Jewish heritage, as well as why and how Jewish photographers have distinguished themselves in their field. Morris begins with Weegee (Arthur Fellig), 'a chronicler of death and heartbreak,' and moves on to the photographs of Bruce Davidson, Jim Goldberg, Mel Rosenthal, Diane Arbus, Lee Friedlander, Allen Ginsberg, Annie Leibovitz, Tyagan Miller, and Marc Asnin. . . . Morris concludes that photography is one means of 'witnessing as a form of social responsibility related to the biblical imperative, the injunction to Remember (Zakhor).'

Dewey Edition22

IllustratedYes

Dewey Decimal770.92/3924073

SynopsisExamining a range of styles from the gritty vernacular sensibility of Weegee (Arthur Fellig) to the glitzy theatricality of Annie Leibovitz, Morris takes a thoughtful look at ten American photographers, exploring the artists' often ambivalent relationships to their Jewish backgrounds., Examining a range of styles from the gritty vernacular sensibility of Weegee (Arthur Fellig) to the glitzy theatricality of Annie Leibovitz, Morris takes a thoughtful look at ten American photographers, exploring the artists' often ambivalent relationships to their Jewish backgrounds. Going against the grain of most criticism on the subject, Morris argues that it is difficult to label Jewish American photographers as unequivocal "outsiders" or "insiders" with respect to mainstream American culture. He shows it is equally difficult to assign a characteristic style to such a varied group, who range from self-taught photographers to those trained in art school. In eclectic ways, however, the contemporary photographers highlighted in After Weegee carry on the social justice and documentary tradition associated with Sid Grossman, Aaron Siskind, and the primarily Jewish Photo League of the 1930s by chronicling the downside of the Reagan revolution of the 1980s. Rather than record movements or trends in current Jewish American photography, Morris focuses in-depth on the work of Bruce Davidson, Jim Goldberg, Mel Rosenthal, Diane Arbus, Lee Friedlander, Allen Ginsberg, Annie Leibovitz, Tyagan Miller, and Marc Asnin. Like Weegee, these photographers share a tendency toward socially informed expression and an interest in self-expression via the operations of photography, inevitably shaped by histories of socially conscious or documentary imaging. Moving between photo history, cultural history, and close readings of the images, Morris traces a common thread among contemporary secular Jewish American photographers, artists who link the construction of personal identity to the representation of history. After Weegee broadens our understanding of the relationship between Jewishness and contemporary photography, challenging us to take a fresh look at much of what has come to be canonized as modern, postwar, and art photography., Examining a range of styles from the gritty vernacular sensibility of Weegee (Arthur Fellig) to the glitzy theatricality of Annie Leibovitz, Morris takes a thoughtful look at ten American photographers, exploring the artists' often ambivalent relationships to their Jewish backgrounds. Going against the grain of most criticism on the subject, Morris argues that it is difficult to label Jewish American photographers as unequivocal ?outsiders? or ?insiders? with respect to mainstream American culture. He shows it is equally difficult to assign a characteristic style to such a varied group, who range from self-taught photographers to those trained in art school. In eclectic ways, however, the contemporary photographers highlighted in After Weegee carry on the social justice and documentary tradition associated with Sid Grossman, Aaron Siskind, and the primarily Jewish Photo League of the 1930s by chronicling the downside of the Reagan revolution of the 1980s. Rather than record movements or trends in current Jewish American photography, Morris focuses in-depth on the work of Bruce Davidson, Jim Goldberg, Mel Rosenthal, Diane Arbus, Lee Friedlander, Allen Ginsberg, Annie Leibovitz, Tyagan Miller, and Marc Asnin. Like Weegee, these photographers share a tendency toward socially informed expression and an interest in self-expression via the operations of photography, inevitably shaped by histories of socially conscious or documentary imaging. Moving between photo history, cultural history, and close readings of the images, Morris traces a common thread among contemporary secular Jewish American photographers, artists who link the construction of personal identity to the representation of history. After Weegee broadens our understanding of the relationship between Jewishness and contemporary photography, challenging us to take a fresh look at much of what has come to be canonized as modern, postwar, and art photography.

LC Classification NumberTR23